Sentences with phrase «shot piece of film»

I mean, sure, The Shining is a fantastically shot piece of film.

Not exact matches

Though Akel and Mass share writing credit, Chalk was actually shot in a loose, improvisational manner in the mode of Christopher Guest's films, and its best set pieces are like devastatingly effective pinpricks puncturing the Hollywood hot - air balloon of inspirational teacher / coach melodramas.

The film is actually inspired by the Biblical tale of Job, and looks like a provocative, masterfully shot piece of cinema.

The killer moment: Skyfall skips from one brilliant mic drop to the next, but for all of its explosive set pieces, the film peaks with a simple shot of Javier Bardem sauntering toward our hero and regaling him with a story about cannibalistic rats.

Like most John le Carré movies, Our Kind of Traitor is a handsome and well - polished piece of filmmaking, and the film earns a strong shot in the arm from its more - than - capable ensemble cast.

The whole film often looks over-exposed, with a patina of rainbow shimmer infusing every shot, but cinematographer Rob Hardy (Ex Machina) has made a deliberate and distinctive piece.

His deceptively straightforward films are rich and cinematic: every cut, every decision to shoot in long shot or shot — reverse shot, and every object, costume, and piece of furniture reveals something about the emotional and intellectual subtext.

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

The shot where she finally gives into the craving she has been leading up to for the whole film is a gloriously disturbing piece of acting.

However, the buzz wasn't because the film was a sensational piece of cinema, but because it was secretly shot at Disney World, and was decidedly something that the House of Mouse would not approve of in the least.

Director Cary Joji Fukunaga is the sole director for all eight episodes of the series» first season, and the shot is a long, intricate piece of action choreography that feels lifted straight from a Michael Mann film.

Utilising the 16 mm films shot by her grandfather as memorial evidence and the catalyst for a familial reassessment of the mythologised Mick, the filmmaker adequately structures the piece to reveal buried truths.

The story, cobbled together by the director and young film enthusiasts Dario Argento and Bernardo Bertolucci, plays like a collection of the genre's greatest hits: the tense, real - time set pieces of High Noon; the mysterious hero of Shane; the encroaching antlike forces of civilization as explored in The Man Who Shot Liberty Valance.

Compound that with a fairly ridiculous plot and a final shot that somehow leaves the impression that an adequate ending was never quite able to be conveyed, and Simon's film turns from a sure crowd - pleaser to one that can irk if you aren't in the mindset to accept it as just a piece of fluff entertainment and nothing more.

To accomplish the task of creating over 200 shots of a running river, the effects team created seven or eight different river pieces that they could combine like LEGO building blocks to fit any scene of the film.

«The Making of Moonrise Kingdom» consists of an 18 - minute featurette shot on the set of the film plus four storyboard animatics and narrator tests, five minutes of screen tests of the child actors, and a short piece on the miniatures used in the flood sequence.

He was in this year's Batman V Superman: Dawn Of Justice, was briefly in Suicide Squad, has shot the ensemble piece Justice League, has a film named The Accountant out in a matter of weeks and will now have a potential Oscar - magnet which he wrote and directed in cinemas by the end of the yeaOf Justice, was briefly in Suicide Squad, has shot the ensemble piece Justice League, has a film named The Accountant out in a matter of weeks and will now have a potential Oscar - magnet which he wrote and directed in cinemas by the end of the yeaof weeks and will now have a potential Oscar - magnet which he wrote and directed in cinemas by the end of the yeaof the year.

At a recent roundtable interview, Revolori talked about the atmosphere on set, working opposite Fiennes, his kissing scene with Saoirse Ronan, adapting to act in the Wes Anderson universe and the research he did beforehand, the physicality and pacing required on set, having fun being a part of the film's exciting adventure set pieces, being slapped repeatedly by Harvey Keitel in sub-zero weather, bowling with F. Murray Abrahams, his chocolate allergy, and his upcoming Bollywood film, «Umrika» which he just finished shooting in India with Suraj Sharma from «Life of Pi.»

Smith compares the film to dark character pieces of the 70's while Walker talks about his editing style of holding on a shot for maximum effect.

So while watching To The Wonder, it might be hard for Malick fans not to think about the rumors of all the other projects he's reportedly been shooting — pieces of which appear to have it into this film — and the actors who worked on To The Wonder but didn't make it into the final cut.

Written and directed by Sally Potter, it's a spiky piece of filmed theatre, an acid drawing - room comedy, shot in expressionistic black - and - white and performed with zeal by its ensemble cast.

The film is shot and edited nicely and would have course be improved upon in HD with a lack of detail in some paintings and art pieces that would be more intensive on Blu - ray.

For instance, check out the opening scenes on the beach or the shots of the fishermen on the pier and you'll see pieces that were filmed this way.

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

Blu - ray extras consist of a piece on the location shooting in Iceland and two featurettes largely centering on the creation of the film's ark.

This is the type of film that will inspire a multitude of essays (both visual and written) and think pieces about how Villeneuve and DP Roger Deakins (who also shot PRISONERS with the auteur) construct their bold visual narrative alongside screenwriter Taylor Sheridan's written one.

The film is pieced together from outtakes from the long - time documentary filmmaker / cinematographer's extensive body of work, but beyond occasionally hearing her voice behind the camera (and one shot towards the end in which we finally see her face as she points the camera toward herself), Johnson forgoes the safety net of voiceover narration to tie all this footage together.

The film's final act (in which Louis and Rick opt to follow the at - large suspects of a multiple shooting Louis captures earlier in the film) is a tremendously tense series of strained negotiations and last - second strategies, chess pieces shifting and moving into place in the finest De Palma tradition.

The film's post-colonial bitterness and sense of social responsibility run alongside super cool set pieces, which are shot through with style and energy.

Restored in 2K with native sounds and traditional songs that Flahertys daughter recorded over a half - century after they shot it, Monica Flaherty's Moana with Sound is a beautiful work of docufiction and an important piece of film history.

Escape from New York is both a marvelously scruffy film and a well - produced piece of dystopian cinema superbly shot by Dean Cundey in Carpenter's beloved Panavision widescreen.

The small miracle of it, then, is that in both its absolute glee in finding the line of how much gore to show and then crossing it (a pair of glasses stop a hypodermic needle... but only for a moment) and its surprising efforts at locating a deeper thread in a frayed brother / sister relationship and the impact of drug addiction, Alvarez's film is a solid, even affecting genre piece that allows for an abundance of memorable money shots.

Meanwhile, The Last Samurai lifts the nursing - from - injury / courtship / surrogate father cycle whole from Peter Weir's Witness (an accidental voyeur moment nearly shot - for - shot), marking the piece as over-familiar even as the realization that we are in this film only about sixty - years before the Japanese begin their massacre of the Chinese at the onset of WWII provides the piece a sort of ambivalence that compels as the one thing truly its own.

The short was only short pieces shot together of a much longer film Anderson and Wilson had in mind.

Granted, shots of old European architecture and landscapes aren't exactly a thrilling use of 3D, but many of the film's set pieces are truly spectacular and the 3D helps to accent all the gorgeous details in every shot.

However, those who are in tune with the film's off - beat, frequently dark sensibilities will find themselves howling as Day - Lewis shoots Krieps loaded glances as she loudly scrapes butter across a piece of toast.

In Rose's half of the story, which is shot as a b & w silent film, it's the by turns merry and ominous orchestral pieces that set the tone.

At the film's heart is a piece of bracingly un-slick found footage not shot by Schwarz that stops the movie cold.

The piece reveals the personal nature of the film (shot at Shanley's first grade, where the real Sr..

The Man in the Iron Mask is a film made strictly for entertainment purposes and isn't shooting for Academy Award caliber cinematics, despite the impressive ensemble of actors and the period piece look.

An experimental film starring Neil Young and shot partially on smartphone, FF2 critic Katusha Jin saw the 73 - minute piece as more of a concert film than a cinematic feature, but explained that it «defied the rules of storytelling.»

His film may not boast a single centrepiece action sequence to rival, say, the D - Day landing scene in Saving Private Ryan, or even the single - take, five - minute tracking shot of Dunkirk beach in Atonement, but it is effectively one long unbroken set piece — surely one of the most impressive ever committed to celluloid.

The film may not work as a suspense piece, but it's hard not to get swept up in the incessant attack of Guadagnino's camera, which strikes every room and character from as many angles as possible, twisting itself in zooms, abrupt dollies, and barely motivated point - of - view shots.

Beginning with some interesting outtake material from the feature film, the piece flips to contemporary shots of the isle — a «strange, unreal, whimsy of fate!»

Activities — designed to suit different age - groups — include games and activities to develop identification and analysis of different camera shots, learning how to construct a story and use character analysis in scriptwriting, analysing use of sound, expressing thoughts and opinions on a piece of film and exploring mise - en - scene.

In the last room of Regen Projects is a sculptural theatre entitled Range Week, where the earlier movies Center Jenny (filmed at Fitch and Trecartin's Los Angeles - based studio) and Junior War (a movie Trecartin pieced together from footage he shot while in high school) are shown.

At the fair, Kavi Gupta brought one of Thomas's pieces from her thesis show (the entirety of which was shot either on 35 - mm film or with disposable cameras).

The archival wall reads as an elite rose petal taxonomy, funneling the viewer into the auditorium where the artist's 30 - minute 16 mm film of the performance art piece shot on 16 mm at Bell Labs, plays on a loop.

A self - described «emotional science project,» Bernadette Mayer's Memory — 1,100 - odd photographs made by shooting a thirty - six - exposure roll of 35 - mm color slide film on each of the thirty - one days of July 1971, accompanied by six - plus hours of diaristic narration that the artist later revised into a book — is one of those conceptual pieces from the 1960s and»70s that have been better known as anecdote than as physical fact.

But his experience working in film editing, of cutting celluloid and «putting together the various frames of film... was later to influence his use of «close - ups and «long shots» in the triptychs and hanging pieces.